baby movie review in english

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Baby Movie Review : A pathos-laden love story that'll leave you with mixed feelings

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baby Anand move<br/><br/>

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Shows exactly how is modern love and definitely there is no LOVE in this so called 2k kids age

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‘Baby’ movie review: Anand Deverakonda, Vaishnavi Chaitanya star in an exceptionally long, silly romantic feature

Helmed by sai rajesh, anand deverakonda’s latest reads like a moral story with the protagonist actually spelling out the moral three-fourths into the movie.

July 14, 2023 05:39 pm | Updated 07:12 pm IST

A still from ‘Baby’

While that was two hours and 45 minutes of my life I will never get back, Baby , unlike most of its contemporaries inches towards being tonally neutral and sensitive when it comes to portraying its female characters.

Anand (Anand Deverakonda) and Vaishnavi (Vaishnavi Chaitanya) are neighbours and high-school sweethearts who grow up in a basti experiencing a meagre way of life. Vaishnavi’s parents are eager to see her make it out of poverty and encourage her to enrol in an engineering college in the city. Meanwhile, Anand stays back and chooses to make a living as an auto driver. 

Baby (Telugu)

Vaishnavi takes to the charms of the city quite quickly and attempts to work her way up the social hierarchy, with the help of a few friends who encourage her to alter her appearance by whitening her skin, wearing branded clothes and dying her hair. This new lifestyle throws a wrench in her love life as Anand is convinced that Vaishnavi is not being true to herself, and in the heat of the moment calls her names. 

At the same time, Vaishnavi is introduced to Viraj (Viraj Ashwin), the college heartthrob who does not shy away from flashing his expensive cars for clout. Their friendship quickly turns tumultuous when Viraj professes his love for her. 

The next one-hour 40-odd minutes of the movie is spent in Vaishnavi trying to manage the weird love triangle she has brought to life with her choices. The critique of greed and materialism that the film tried to build in the first half goes for a toss with a messy sexual agreement between two characters, an unintentionally funny confrontation by the trio, a failed suicide attempt, and the death of a parent. The sequence of the events ends up working as a catalyst for the audience to lose interest in the characters, and their emotions and aspirations; the length of the movie does not help.

However, it is endearing to watch flawed characters on screen that are not siloed into good or bad.

Vaishnavi Chaitanya does the heavy lifting for most of the film and convinces the audience to root for her even during her missteps, but Anand Deverakonda falters while playing the miserable lover. The supporting characters are not given their due as their behaviour tends to arbitrarily change to the whims of the director to advance the narrative.

Eventually, Baby runs like a moral story with the protagonist actually spelling out the moral three-fourths into the movie.

Baby is currently running in theatres  

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Baby Movie Review: A Morally Ambiguous Drama That Thrives In The Flaws Of Its Characters

Is baby biased.

It's quite easy to write off Baby as a shallow, biased drama punctuated with the male gaze early on. But if you feel something's problematic in Baby , the film will likely address it through a character. 

Imperfect and Murkier

The three main characters, childhood sweethearts Anand and Vaishnavi, and her college friend Viraj, are imperfect beings driven by mad love with their every mistake, regardless of how good their intention might be, making the plot thicker and murkier. 

Annoying External Antagonist 

There are some brilliant writing choices in the film. Moral ambiguity, however, is a trait reserved only for the leads. The weakest and the most annoying writing choice has to be for an external antagonist named Sita a caricaturish representation of a spoilt girl. 

Music Enhances The Movie-Viewing Experience

Speaking of the movie-viewing experience Baby offers, Vijay Bulganin is undoubtedly the strongest pillar of Baby, and his music accentuates the drama wonderfully. While 'O Rendu Prema Meghalila' is the soul of the film, breathing life into even tiny moments.

Acknowledging The Flaws

The film makes it a point to establish that it's telling the story of simple, flawed people who are not necessarily progressive. So whether you sympathise with the characters or not might be a subjective choice. The beauty of Baby is that nothing exists in simple black and white, everything is grey. 

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Release Date : July 14, 2023

123telugu.com Rating : 3.25/5

Starring: Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin, Naga Babu, Lirisha, Kusuma, Sathvik Anand, Babloo, Seetha, Mounika, Keerthana, and others

Director: Sai Rajesh

Producer: SKN

Music Director: Vijay Bulganin

Cinematographer: M N Balreddy

Editor: Viplav Nyshadam

Related Links : Trailer

Baby is a film that has earned a good buzz due to its chartbuster songs. Directed by Sai Rajesh, the film stars Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin in the lead roles. The movie hit the screens today, and let’s see how it is.

Vaishnavi (Vaishnavi Chaitanya) and Anand (Anand Deverakonda), hailing from a slum, are high school lovebirds. Anand fails to make it to the college and becomes an auto driver, whereas Vaishnavi joins the college. Vaishnavi undergoes a massive transformation, and this is also the time she gets close to Viraj (Viraj Ashwin). Slowly problems start developing between Vaishnavi and Anand. An unexpected incident takes place, which changes the lives of Viraj, Anand, and Vaishnavi as a whole. What happened next? How did the incident affect the three? This forms part of the crux of the story.

Plus Points:

Baby is a take on modern-day relationships, and director Sai Rajesh sheds light on the chosen topic through three beautifully written characters which are diverse in their own way. By the end of the film, one would end up liking all the three lead characters due to the effective writing. The scene where Viraj and Anand meet for the first time is the biggest highlight.

The movie has a pretty good second half with a right blend of drama, emotions, and intense moments. Baby became even more captivating thanks to the wonderful dialogues that will strike a chord with the target audiences. There are a good amount of whistle-worthy moments, and youth can relate themselves to many scenes. A few scenes are intentionally placed to impress the youngsters, and they land up well.

Anand Deverakonda amazes big time with his stupendous performance. We get to see the actor in Anand through Baby, and his full potential has been tapped by the director. It is a bit challenging role, especially for a budding artist, but Anand killed it with his earnest performance.

Vaishnavi Chaitanya is a revelation in this romantic drama, and the young actress’s performance speaks volumes about her talent. Her character arc has been designed quite well. Vaishnavi performed pretty good in the emotional scenes too. Her phone call scene with Anand Deverakonda was terrific. Viraj Ashwin gets a solid role, and he performs to the tee. This is perhaps the best role done by Viraj so far, and he aced it to perfection.

When romantic dramas get a good album, the result is Baby. Every song composed by music composer Vijay Bulganin is too good, and also the effective background score enhances the impact in many sequences.

Minus Points:

The movie is quite lengthy, as it has a runtime of close to three hours. The makers could have trimmed down a few sequences, especially in the first half, for a better experience. The contemporary nature of the film might not go well with a few.

The first hour is slow paced, and the movie gets more interesting from the pre-interval portions. Though there are good moments and dialogues, they are few and far between. The pacing reduces the impact to an extent. At times, the first half gives us a feeling that it is a bit stretched.

Technical Aspects:

As mentioned earlier, music by Vijay is a major asset for Baby, which takes the film to the next level altogether. The cinematography by Balreddy is exquisite, and the visuals are easy on the eye. Particularly the songs are shot in an aesthetic manner. The editing is sloppy in the first half, but it is alright in the latter hour. The production values are first-rate.

Coming to the writer and director, Sai Rajesh, he did an impressive job with Baby. While the first hour was not that great, he makes it up with a very good second half that is a concoction of intense emotional sequences and solid dialogues. Sai Rajesh extracted the best out of his actors, and he used the music perfectly. His dialogues are fantastic and have inner depth. Had the first half been a bit racier, the movie’s range would have enhanced further.

On the whole, Baby sheds light on modern-day relationships in a neat manner, and the climax is unconventional. The performances of Anand Deverakonda, Vaishnavi Chaitanya, and Viraj Ashwin are simply superb. The second half has its heart in the right place, but the impact gets slightly reduced due to the slow-paced first half, which could have been still better. Also, the makers could have taken care of lengthy runtime. Nonetheless, Baby is a good watch this weekend. Go for it.

123telugu.com Rating: 3.25/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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Baby Movie Review

Article by Nanda Gopal Published by GulteDesk --> Published on: 9:12 am, 14 July 2023

2 Hr 28 Mins   |   Love   |   14-07-2023

Cast - Anand Deverakonda, Vaishnavi Chaitanya, Viraj Ashwin, Naga Babu and others

Director - Sai Rajesh

Producer - SKN

Banner - Mass Movie Makers

Music - Vijay Bulganin

Anand Deverakonda, the younger brother of Vijay Deverakonda, returns with Baby where he collaborated with Colour Photo writer-producer Sai Razesh. Anand isn’t successful yet like his brother. So, Anand is in search of success and cementing his position. Baby looks promising for him. Thanks to its musical-hit songs and good round of promotions, the film garnered good buzz. Will Anand and the makers succeed with Baby? Let’s find out.

Hailing from the same basti, Anand and Vaishnavi are childhood sweethearts who go to the same school. Vaishnavi loves Anand madly and he too falls for her. After school, Anand becomes an auto-driver and Vaishnavi joins engineering college where she enters a new world. She gets new friends and she meets a good-looking rich guy named Viraj. What happens when situations create a gap between Anand and Vaishnavi? The rest of the story is how Vaishnavi deals with Anand and Viraj.

Performances

Anand Deverakonda is alright as the protagonist who loves his girl unconditionally. His character goes through a lot of emotions. There are moments where Anand reminds us of brother Vijay Deverakonda, particularly the dialogue, ‘Na Pilla Bey’ which became popular with Vijay’s Arjun Reddy. Anand is still evolving as an actor.

Vaishnavi Chaitanya is the show-stealer. She carries off the film single-handedly from the start to end. As a Basti girl and as a modern girl, Vaishnavi shows she’s the best of both the worlds. She is a perfect cast for the role and she won the hearts. Kudos to the makers for their gutsy decision to rope in her for the role.

Viraj Ashwin is decent. His character lacks consistency. It is also not clear what exactly he wants and whether he loves Vaishnavi sincerely or not. Naga Babu’s role has no significance in the first beginning, but as the film progresses, his character gains weight in the story. Anand’s bonding with his own mother was irritating initially, whereas it tries to stir emotion towards the end. All the friends of the lead actors do a decent performance. Viva Harsha’s role has importance as the character reveals a crucial twist of the film.

Technicalities

On the surface, Baby has a very thin point. This becomes challenging in writing and narrating. Story requires more depth which is lacking. Yet, director Sai Rajesh scored points with his craft. Visuals and music make the film appeal. Music composer Vijay Bulganin is the winner as he delivered nice songs and a compelling background score. Two songs in the film are good. The film has slow narration. Editing is fine, but the film needed more crispness.

Vaishnavi Contemporary Concept Songs & Background Score

Thumbs Down

Thin Story Slow-paced Narration Improper Message

Baby is all about Vaishnavi and her life involving two guys – one childhood lover Anand and other college friend Viraj. How Vaishnavi tackles both forms the crux of the story. The film begins by showing Anand devastated and seen in a regretful mood. This raises curiosity and the story quickly takes us into the past. Director doesn’t waste much time in taking audiences into the story. The mood is set right and all the characters are well-established. The film just revolves around the lead characters. The scenes of phone, gifts and shopping, pub scenes connect to youth. The film is aimed for college-goers and youth who connect to the film. There are scenes which many guys relate to. The references about Pawan Kalyan, Trivikram Srinivas bring cheers to fans.

The success of Baby lies with the choosing Vaishnavi as the film’s heroine. It is her show completely. How she slipped into situations and how she tries her best to cover-up her mistakes but ends up making bigger mistakes that make for an engaging watch. The makers choose the topic that is very much relevant to the present generation and relatable to youths.

Vaishnavi is portrayed as a smart girl who doesn’t pay heed to parents or her love Anand. But she falls prey to a college ‘friend’ Sita who misguides her. This portion is alright. The transformation of Vaishnavi isn’t completely convincing. She puffs hookah, cigarette, gulps alcohol shots without much hesitation. Here the director tells us that Vaishnavi, a basti girl, attempts to change the way she looks and is perceived by others around her. This sets the tone for the film. The first half is engaging.

There are cuss words liberally used. Whilst these cuss words are muted, censored in India, they are used as it is in the US and overseas content. The latter-half has bold content as well. Director Sai Rajesh has handled some scenes with a lot of maturity which is laudable. But some scenes are dragged beyond the point.

Baby has a core problem. Writer-director Sai Rajesh tries to strike a fine balance. He tries to portray that everyone is good, but it is just situations that make one change and transform resulting in cheating. He tries to justify the wrongdoings too. But he fails to create enough sympathy or hatred for the principal characters. Unlike Arjun Reddy or 7/G Brindavan Colony or RX 100, Baby doesn’t hit hard or convey straight to the point. In fact, it just oscillates and beats around the bush.

The film deals with the new-age concept of a girl falling for attractions and end-up cheating an honest lover.

During an important scene, Vaishnavi wears Anand’s saree on his birthday and goes in his auto. The writing here is superior. In another scene in auto in the pre-climax where all the three lead characters encounter one another. This is well conceived. The climax is dragged and stretched beyond a point. And the end may not be convincing for many. The message of the film is not clear.

There is enough scope for humour. But the director stays true to the honesty. It has an intense love story. The film goes on at a serious tempo at max, till the end. To sum up, Baby is ambitious and as an idea it was good. Whereas, it suffers in its narration. The first half works and the second-half has bold moments. It manages to hold interest as it progresses. The film neither leaves you completely satisfied nor it disappoints. It just strikes midway between both.

Despite all its shortcomings, the film caters to youth with relevant scenes. Thanks to good buzz owing to hit songs and promotions, Baby got a good opening. We have to see how the movie is received in the coming days.

Verdict: Bold Baby !

Rating: 2.5/5

Tags Baby Movie Reviews

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An elite counter-intelligence unit learns of a plot, masterminded by a maniacal madman. With the clock ticking, it's up to them to track the terrorists' international tentacles and prevent t... Read all An elite counter-intelligence unit learns of a plot, masterminded by a maniacal madman. With the clock ticking, it's up to them to track the terrorists' international tentacles and prevent them from striking at the heart of India. An elite counter-intelligence unit learns of a plot, masterminded by a maniacal madman. With the clock ticking, it's up to them to track the terrorists' international tentacles and prevent them from striking at the heart of India.

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• 259 User reviews
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Ajay Singh Rathore : In religion column, we write INDIAN in bold letters.

• Crazy credits Music video of the song "Beparwah" plays during the main credits.
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• Jan 22, 2015
• How long is Baby? Powered by Alexa
• January 23, 2015 (United States)
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• $11,533,057

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• Runtime 2 hours 39 minutes
• Dolby Atmos

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• తెలుగు

'Baby' Review: Lengthy Lousy Lusty

Film: Baby Rating: 2.25/5 Cast: Anand Devarakonda, Viraj Ashwin, Vaishnavi Chaitanya, Naga Babu, Lirisha etc Cinematography: MN Balreddy Editor: Viplav Nyshadam Music: Vijay Bulganin Producer: SKN Written and Directed By: Sai Rajesh Release Date: 14 July 2023

Anand Devarakonda, after a series of flops, came up with this film featuring Vaishnavi in her debut as a full-length heroine. Viraj Ashwin played the second lead, and the film was directed by Sai Rajesh. The trailer appealed to a specific audience, giving the impression of a poetic love story.

Let's delve into the plot and find out what it offers.

Story: Vaishnavi (Vaishnavi Chaitanya) has been in love with Anand (Anand Devarakonda) since their high school days. While Vaishnavi joins an Engineering College, Anand, who fails his 10th standard, becomes an auto driver over time.

Viraj (Viraj Ashwin), a wealthy young man in the college, falls in love with Vaishnavi and proposes to her. Although Vaishnavi develops feelings for Viraj, she remains loyal to Anand.

However, a series of events eventually push Vaishnavi to accept Viraj's kiss-proposal, leading her into trouble. What happens next? Who is the actual culprit, and who are the victims? How does her kiss affect the lives of each one?

The rest of the story answers these questions.

Artiste's Performance: Anand Devarakonda delivered a commendable performance, excelling in several scenes. He portrayed a character with strong values and morals, while also portraying a victim of love.

Vaishnavi showcased her talent by playing a girl-next-door from a below middle-class family, as well as an urban girl with a makeover. She portrayed a graceful lover and a confused teenager, displaying versatility in her acting.

Viraj performed well in his role, although there weren't many opportunities for him to showcase his diverse acting skills. His character lacked surprises or additional shades.

Naga Babu's portrayal was adequate but didn't offer anything noteworthy. Viva Harsha's role was like an extra actor with a few scenes and a couple of dialogues.

Technical Expertise: The cinematography was good, and the background score adequately supported the film. The songs were situation-based and pleasing to ears.

The editing was not sharp, causing scenes to drag on. On a whole the making standards are good. 

Highlights: Anand Devarakonda Vaishnavi Music

Drawbacks: Run-time Vulgarity

Analysis: Sai Rajesh, known for directing films with a blend of comedy and spoof value like "Hrudaya Kaleyam" and "Kobbari Matta," attempted to break away from that image with this film. He aimed to create an intense cult love story, but unfortunately, the result was a lethargically made, overly lengthy film with confusing characters.

While the director intended to present characters with real-life emotions, it became burdensome for the audience to bear the confusion and indecisiveness shown on screen.

The characterization of the female lead began subtly as a girl next door but later transformed into an urban girl who behaved contrary to her initial character. Despite the director's attempt to attribute her actions to alcohol, the overall narrative shifted toward hating the main lead rather than empathizing with her. Additionally, the heroine, who crossed several boundaries with her new friends, is surprisingly unaware of what 'dating' means, creating further confusion in her characterization.

Furthermore, the main lead's character felt contrived, with an excessive focus on idealistic traits. Instead of sympathizing with him, the audience sometimes trolled the character with loud laughs and shouts, revealing a mismatch between the director's imagination and the contemporary audience's mindset.

While the director may have aimed for a film akin to Balu Mahendra's "Vasantha Kokila" with a shattered hero at the end, the result felt forced and excessively long.

It is essential to maintain the right balance and not drag the narrative beyond what is necessary to achieve the desired effect. In this film, the story was dragged out too long, making it unbearable for the audience. The first half was slow but steady, while the interval part was intriguing. The second half followed predictable patterns, and the climax was never ending and pale.

The film runs like a moral story. It is a lesson for young girls of college age not to get trapped into the urban evils like pubs, alcohol and smoke and spoil personal lives. But the way it was dealt was vulgar. 

In spite of that moral theme, the film included objectionable cuss words like L@#j# (multiple times), G#dd#, De#g# Thaagi, Lan$ak#d#ka, Kud$si##tav. The filmmakers may have intentionally included these words, knowing that they would be muted by the Censor Board, but still understood by the audience in context. However, this choice speaks more about the director's vulgar taste than anything else. The words are not getting muted in American prints causing a lot of embarrassment and inconvenience to the NRI audience.

There is also a dialogue- "Nuvvu theravaalsindi kallu kaadu- kaallu" which is vulgar. 

There is a dialogue suggesting that men must spend the rest of their lives consuming alcohol sitting in a corner if their love fails. This outdated filmy thought process reflects the director's perspective.

The film appears loosely inspired by "RX100," where the heroine herself is the villain. In this case, the heroine is a villain but primarily driven by circumstances rather than her character.

The film emphasized more lust than love. All the main characters are victims at the end as per the story and of course the audience too are the victims of the length!

Bottom Line: Shabby

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Baby Crew Info

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Production	A Mass Movie Makers
Satellite Rights	E Tv
Budget	TBA
Box Office	91.00 Cr
OTT Platform	Aha Video
OTT Release Date	2023-08-25
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Frequently Asked Questions (FAQs) About Baby

In this Baby film, Anand Deverakonda , Vaishnavi Chaitanya played the primary leads.

The Baby was released in theaters on 14 Jul 2023.

The Baby was directed by Sai Rajesh

Movies like Prabhas Hanu , Mechanic Rocky , The Raja Saab and others in a similar vein had the same genre but quite different stories.

The Baby had a runtime of 177 minutes.

The soundtracks and background music were composed by Vijay Bulganin for the movie Baby.

The cinematography for Baby was shot by M N Balreddy .

You can watch the Baby movie on Aha Video,.

On 25 Aug 2023 Baby was released on the Aha Video, platform.

The movie Baby belonged to the Drama,Romance, genre.

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Disclaimer: The materials, such as posters, backdrops, and profile pictures, are intended to represent the associated movies and TV shows under fair use guidelines for informational purposes only. We gather information from social media, specifically Twitter. We strive to use only official materials provided publicly by the copyright holders.

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Baby Movie Review: An odious, operatic tragedy of errors

Rating: ( 3 / 5).

Is there any genre more inconsistent in its treatment than romantic films? On one hand, we have films that are all froth and fluff, unrealistic from the get-go. On the other end, you have your pain-ridden odysseys acting as a gateway for catharsis. One is sheer escapism, the other a polarising poke into the pus-filled warts of human experience. There is an uneasiness so distinct after watching  Baby , a lot of the appreciation I have for this film comes from the very uneasiness it effectively evoked in me. But how can one appreciate something that makes you feel uneasy? Maybe it is some degree of novelty, combined with a congruence to a certain strain of reality. Maybe the existence of 'feel good' cinema conversely implies the existence of 'feel bad' cinema, for  Baby , easily earns itself a distinction in the latter category. Director - Sai Rajesh Cast - Vaishavi Chaitanya, Anand Deverakonda, Viraj Ashwin, Harsha Chemudu, Nagababu Konidela

For a film that deals with something so intimate and humble in scale — first love, growing up, infidelity, heartbreak and regrets — Director Sai Rajesh mounts it with an assured grandeur. The music of the film, composed by Vijai Bulganin, helps immensely, elevating the story even when the actors are struggling to find their feet. Not so long ago, this exact feat was achieved by composer duo Ajay-Atul for Sairat , a Marathi adaptation of Romeo and Juliet . But Baby is far pricklier in comparison. The movie has three leads and the makers intentionally name characters after their real names. Vaishnavi Chaitanya plays Vaishnavi, Anand Deverakonda is Anand and Viraj Ashwin’s character is called…you get the drift. If Jeo Baby’s The Great Indian Kitchen wanted to convey to its viewers that they are narrating the tale of *every* Indian family by not naming their characters, Baby takes a different route to arrive at the same location.   What gives Baby its edge is the way it presents two varying arguments about the film’s central love story at the same time. Sure, this is the story of many, if not every couple but, more often than not, these couples also believe they are exceptional, their love story is but the greatest in the world. Sample this song from Baby whose lyrics say, “ Mana katha lanti maro katha, charithalo undadhantane… ” (There is no story as unique as ours, history will stand proof to it). There is an echo to this display of exceptionalism on a more personal level when Vaishnavi declares, “ andaru veru, nenu veru ” (I am not like everybody else), which is followed by Anand rudely replying “ andaru porilu veru kaadhu, andaru okkate. ” (all girls are the same).  The exceptionalism of the characters is balanced by an inquiry on identity. As Vaishnavi leaves her ghetto to a swanky private engineering college, we see her self-esteem crack as she gets ridiculed about her dark skin and her economic background. We see her family, a cranky, insecure mother and a well-meaning but emotionally absent father play a role in this. This sets the tone for the rest of her arc. Staying committed to its “feel bad” vibe, Vaishnavi’s story is essentially an unbe'coming' of age one. Baby’s twin themes of exceptionalism and identity meet at the moment when Anand, after hurling abuses at Vaishnavi, declares that her identity only comes from him loving her. That she is who she is, because he chose to love her out of all the other people he could have loved. Vaishnavi, responds a little while later, that he gets his arrogance because she loved him first. She follows this up with a “ nuvvu mundhu preminche unte nen ninnu nelanu naakinche danini. ” What a beautiful insult. 

As much as Baby is about Vaishnavi, the film also belongs to Anand and his bookended grief, as its plays out like a flashback, a lengthy follow-up to the “ modhati premaku maranam ledhu ” (first love is immortal) hypothesis.  Anand is introduced with a shot of his feet as a fly lingers around. He is drunk, visibly overwhelmed with memories. We first see Vaishnavi dancing away outside her basthi’s Ganesh pandal. Their high school love is all innocence, aptly punctuated by children singing the chorus of  'O Rendu Prema Meghalila' . But alas, their innocence is only built to have it every last bit of it destroyed. Vaishnavi is the first to fall for Anand, he reciprocates it later. Vaishnavi, receiving a soap dabba as a gift, declares how she loves receiving gifts. These seemingly cute details are foreshadowed, weaponised even, for regrettable consequences and cruel pay-offs. 

Baby is well aware of its own foreboding, so much so that Vaishnavi and Anand find themselves talking about feeling, and later failing to see bad omens come in their way. If Anand and Vaishnavi form the film’s more obvious love story, Baby ’s tryst with tragedy is the film’s second, hidden love story. Viraj is the face and form of this story’s ugliness. Echoes of identity and exceptionalism find themselves in his story as well. Viraj is a rich guy who drives a Cooper to his college. Why would he like Vaishnavi, a basthi girl? But look at his introduction scene plays. Every girl is impressed by his looks, his wealth. Vaishnavi is not only different than all the other girls, but she is also indifferent to who he is on the outside. Much like Anand, this is the girl he chooses, to bequeath her a new identity, to be her only identity. 

While Baby also portrays love as something special, something irreplaceable and magical in theory, the film succeeds in its ugly depiction of narcissism, pettiness and violence. The film is generating enough hate as I type this sentence, but there is a good reason for that. Not a single main character is good or right. Vaishnavi is undone by her fear, Anand is destroyed by his insecurity and Viraj, well, Viraj is the most nightmarish version of the nice guy/boy bestie trope. Imagine Revi from Love Today , but crazy manipulative instead of just stupid. There is also a laughably bad and infantilized class divide angle in the form of a character named Seetha thrown in. While it does not work on its own, it does its bit in pushing the story forward. 

The film’s biggest shortcoming is in its direction. Its 177-minute-long runtime, consisting of scene after scene of theatre-style staging where the camera never moves and the dialogues never end does prove to be taxing to the viewer. For a story so haunting, its filmmaking is flat and tepid, wasting an opportunity to go from interesting to…well, exceptional. For now, and for a while, I shall continue to remain how the characters have been throughout the film. Confused. Like everybody else.

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Stream It Or Skip It: ‘Baby’ On Netflix, A Drama About Teens Who Get Pulled Into Rome’s Seedy Underbelly

Where to Stream:

We just can’t get enough of teens-in-trouble stories, can we? And Netflix seems to be finding them from all over the world. Now we have the Italian drama  Baby , which is advertised as a “coming-of-age” story but from what we’re hearing will be a whole lot more. Read on…

BABY : STREAM IT OR SKIP IT?

Opening Shot:  Blank screen, then a voice over that says, “If you’re 16 and live in Rome’s most beautiful neighborhood, you’re lucky.” Then we see buildings in Parioli, the city’s most exclusive area.

The Gist:  Chiara (Alice Pagani) talks about living a double life, about wanting to get out of the Parioli fishbowl. In the first scene, we see the high school student staring worriedly at the ceiling as her classmate Nico (Lorenzo Zurzolo) sleeps n ext to her. Sleeping with Nico, one of the most popular kids in school, is a no-no because he has a girlfriend. So there she’s already living a secret life. And she pretty much says almost nothing to her mother, Simonetta (Isabella Ferrari); Simonetta and Chiara’s father have recently gotten separated.

Despite her overachieving life in high school — popular, good grades, on the track team — she’s intrigued by her mysterious classmate Ludovica (Benedetta Porcaroli), who has been shunned by classmates due to rumors of a sex video she’s in that has circulated throughout the school. They meet when Chiara hears Ludovica crying in the girls’ room, and finds out she’s practicing to get out of a math test. Ludo helps Chiara out by expertly forging Simonetta’s signature on a permission slip for Chiara to study abroad in New York.

In the meantime, a new student named Damiano (Riccardo Mandolini), a middle-class kid who ends up in the school after he moves in with his dad, who is a powerful government-official, after his mother dies. He hates the school but seems to find a kindred spirit in Chiara. She’s so intrigued by him that she Instagram stalks him to find out more about his old life.

All three of them attend a party at a classmate’s house, and all are having a rotten time, but when Ludo and Chiara get together, they have some sexy fun… until someone plays the sex video that Ludo shot. When Chiara goes after her, she runs into Damiano, whose late mother’s scooter was stolen. They connect, too, but she goes with Ludo when she invites her to a club where she knows the owner Saviero (Paolo Calabresi). When the two of them are dancing, the owner talks to his business partner about how their clients will love Chiara and Ludo. Um… for what?

Our Take: Listen, how many times in the last year have we seen privileged  high schoolers either participating in or being lured into a world of drugs and sex? For shows of this genre to work these days, there has to be a driving force there. With  Elite , it’s a political fight and a murder, and with  Baby , it’s the frustration of being in the fishbowl of the moneyed class.

We can tell from the first scene that Chiara isn’t your typical kid living in the lap of luxury. She doesn’t take too much advantage of her social status, and just wants to experience life in an authentic way, and that comes through in Pagani’s performance; she’s down-to-earth and shows why and how she’s attracted to people outside the school’s norms, like Ludovica and Damiano.

Porcaroli is dynamic as Ludovica, who has a mother who dates young men who sponge off her and who thinks parenting is taking Instagram pics of their matching toenail polish. We can tell her life has been rough, but she seems to be managing… until she doesn’t. And her reaction to the sex video being played at the party is the best scene in the first episode.

One thing, though: At the end of the first episode, we’re just thinking that  Baby is going to be about Chiara being drawn into Rome’s nightlife, torn between Ludo and Damiano. But there have been calls for Netflix to pull the show because it’s said to be based on a real-life teen prostitution case. That feels like the direction the show is going in, which will give it a bit more of a drive than the first episode showed. But at what cost?

Sex and Skin: After that first scene, there isn’t any sex or skin in the first episode, though we think it’ll come later.

Parting Shot: As the girls dance over a remake of “Girls Just Want to Have Fun” by the Chromatics, Chiara’s voice over says, “The best thing about having a secret life is that you never know what’s in store for you.” Ooooh, foreshadowing!

Sleeper Star: Mandolini will be interesting to watch as Damiano. How does he fit into the world that Chiara and Ludovica is getting themselves into?

Most Pilot-y Line:  Ludovici’s mother’s boyfriend is such a sponge that he tries to pay for the fancy dinner he’s at with Ludo and her mother and his credit card is rejected.

Our Call: STREAM IT. Well-acted and well-written,  Baby should be an entertaining drama if you’re OK with the racy subject matter.

Joel Keller ( @joelkeller ) writes about food, entertainment, parenting and tech, but he doesn’t kid himself: he’s a TV junkie. His writing has appeared in the New York Times, Slate, Salon, VanityFair.com, Playboy.com, Fast Company’s Co.Create and elsewhere.

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Baby Movie Review: Baby Movie

Baby review 4.5/5 & rating. watch baby official trailer video, listen songs, movie news updates, movie review and checkout public movie reviews soon., baby review {4.5/5} & review rating.

Rarely you come across an Indian movie that doesn't hit a single false note. BABY is one such film. Writer-Director Neeraj Pandey has made a brilliant film that is not only technically at par with the best in the world, but it's also a dispassionate non-judgmental take on terrorism that's completely devoid of jingoism and is extremely gripping. Full marks to Producer Bhushan Kumar for believing in such a landmark film, backed by exceptional marketing especially when it's devoid of songs. Firoze Ali Khan (Danny) heads a special operations wing of commandoes called Baby. In a conversation with a senior minister in the beginning of the film, he states that the Government ought to win the confidence of the Muslim community in India, for Pakistan is taking advantage of the community's sense of alienation within India. In another scene Ajay Singh Rajput (Akshay Kumar) tells an ISI agent Taufeeq (Mujeeb Khan) how he defended a Muslim family during the Gujarat riots and why he puts 'Indian' in the Religion bracket in all forms that he fills. Somehow this sets the tone for the film that terrorists don't have a religion and no particular community ought to be associated with terrorism. The screenplay is the hero of BABY. It flows lucidly, taking you on an engrossing journey of thrills, intrigue and surprises. Dialogues are peppered with bullets of dry humor that keep you entertained throughout. The verbal-expletive-laden warfare between Shuklaji (Anupam Kher) and Ajay is a case in point in this regard. Or when Ajay matter-of-factly tells Priya (Taapsee) as they're on the flight to Kathmandu to "stop being my wife" when she informs him about his snoring. The precarious uncertainty in the life of an Officer involved in covert operations has been portrayed in a subtle but telling manner. Ajay's wife (MadhurimaTuli) isn't aware of her husband's job profile but does tell him now and then, "Bas marna mat." The scene where Ajay slaps the personal assistant of a minister (on his frivolous remark on the death of his colleagues) will result in an applause from the audience in the theaters. The narrative of BABY flows like a well-made Hollywood film. Actors filter in only where required and they're not repeated just because it makes a commercial sense from a typical Bollywood perspective. Taapsee is part of one operation. Anupam Kher and Rana Dagubatti join the team in the scorching climax sequence shot in Abu Dhabi. Sudeep Chatterji's cinematography deserves a special mention. He has done an exceptional job especially in the chase sequences in Istanbul and the desert escapades in Abu Dhabi. Akshay Kumar has done an incredibly good job in BABY. He's razor sharp and there's never a dull moment whenever he's on screen. In a scene in an Airport washroom when he bandages himself despite excruciating pain is superbly done. He's exceptional during all his action scenes as well. The entire supporting cast is excellent. Danny is a picture of precision in giving the right expressions. He doesn't bullshit nor lets anyone else do the same. Anupam Kher weaves in magic in a cameo. He's entertaining and he gets the job done. Kay Kay as the dreaded terrorist Bilal makes his striking presence felt. Sushant Singh is effective in bringing in humour in a least expected situation. Rana Dagubatti as the tough officer Jai is competent. Taapsee is a sharp Commando. She shall be proud of this film. Rasheed Naaz as Maulana Mohammad Rahman has an interesting appearance and an even more interesting way of dialogue delivery. Mikal Zulfiqar, another Pakistani actor makes his presence felt in a cameo. Sanjoy Chowdhury's background score is the heartbeat of BABY as it instills the necessary emotions at opportune moments in the course of the narrative. Shree Narayan Singh's editing is exceptional. Even though the duration of the film is over two and a half hours, the taut pace keeps you hooked. The last 45 minutes of the film are simply extraordinary and fast paced. On the whole, BABY is one of the finest films ever made in the history of Indian cinema. Not only because of its excellent cinematic credentials but also because of the balanced 'Thought' behind the film. Neeraj Pandey once again proves that he's a genius. This time he proves, it's possible to better Perfection. We say, hey baby, don't think, just go for BABY. Cinema at its very best!

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“I haven’t seen your baby online yet. Maybe I missed it?”

A mere 10, or 15 years ago, these words would have made little to no sense. The assumptions implied are stark: Your baby should  be online. If your baby isn’t  online, something’s wrong. Or maybe you posted a pic, and I just missed it? What’s wrong? It’s really weird  you haven’t posted a picture of your baby online.

This moment comes early in “Baby Ruby,” playwright Bess Wohl ‘s directorial debut. Jo ( Noémie Merlant ), a French lifestyle blogger living “upstate” with her husband Spencer ( Kit Harington ), has just had a baby. Since she built a brand “curating” her stylish French-woman-in-America life, the question posed to her by a confused fan is not unwarranted. A lifestyle blogger puts everything else online. She “monetizes” her personal life. She writes about the baby shower, peppering the post with affiliate links. The nine months of pregnancy provided Jo with so much “content”! Then radio silence once the baby is born. Her fans are at first concerned and then irritated.

“Baby Ruby” is about a woman’s experience of not just postpartum depression but postpartum psychosis, and her conviction that her newborn baby is somehow angry with her. Ruby is perceived by Jo as a raging malevolent creature. Ruby cries all the time, and Jo takes the crying personally. She feels like the baby is “punishing” her for something, there’s a flaw in Jo’s character only Ruby perceives. The pediatrician tells Jo, “Babies cry. It’s what they do.” Everybody tells her this. But Jo can’t shake the feeling that something else is going on. Ruby seems hostile. Paranoia ratchets up. Jo wonders if her husband and her mother-in-law ( Jayne Atkinson ) are in cahoots, if the neighbors are on the level, or if there isn’t something sinister going on.

Wohl keeps the film in close first-person, so Jo’s increasingly terrified mindset is made manifest visibly, with lots of shock cuts and hallucinatory elements, where you’re not sure what is real and what isn’t. The possibility that the whole film is Jo’s hallucination grows with every passing moment. Does she really go out for “Mom drinks” with the breezily gorgeous group of local women who go running every morning pushing baby carriages in front of them? Spencer seems like a good guy, and although his mom might be a little overbearing, they are also rightfully concerned. Or it all might be a front for some “Rosemary’s Baby”-like conspiracy. Jo just can’t be sure. And neither can we.

“Baby Ruby” operates at a high-pitched melodrama-horror level, and the constant frenzy becomes exhausting. The film’s nerves become so frayed there’s almost no feeling left in them; the terror is monotonous and repetitive. In “Rosemary’s Baby,” the terror comes because we can see that Rosemary’s perceptions are accurate, despite all the gaslighting: something sinister IS going on, the neighbors ARE up to no good, her husband IS in cahoots with evil, and something IS wrong with her baby. “Baby Ruby” clearly wants to say something about the struggles many new mothers face, but the horror tropes—the pot boiling on the stove a particularly obvious example—drain away the power from the underlying message. There are only so many “did I just dream it or did it really happen” moments a film can take. There are only two authentically unnerving effects in “Baby Ruby”: one involves Jo’s shadow on the wall, and one involves her reflection in the window. These moments are intriguing and psychological, carrying enormous symbolic weight, but they stand alone.

I keep returning to the fan’s question about why Jo’s baby isn’t online yet. Bess Wohl didn’t give Jo a regular job like a teacher or accountant. Wohl made her an influencer for a reason. Jo set herself up as an authority on many things, including motherhood, an experience she hadn’t even had yet. When Spencer reads out loud from a parenting advice book, Jo is contemptuous: she won’t take advice so “cliched.” She is not a cliche, thankyouverymuch. She’s special . She doesn’t need a book published in the ’80s to tell her what to do. That advice will be passé and probably “problematic” as well. Jo will become the Avatar of Momhood for this new supposedly freer generation.

It’s in this charged arena of cultural observation—entitled girl boss culture, the “pick me girl” turned new mom, the private citizen acting like a celebrity/expert—that “Baby Ruby” has some real bite, not as much bite as “ Ingrid Goes West ” but close. Unfortunately, these elements are presented more as background noise rather than the main event. Instead, we get scene after scene of Jo seeing horrible things and then “waking up” to realize it was all a dream, although maybe it wasn’t.

Birth is a physically traumatic event. The body and mind need time to recover. Hormones surge through the mother’s body as the pressures—internal and external—pile up. You are expected to be in a state of bliss. You are expected to be automatically “good” at mothering. You are expected to lose the baby weight. Being Extremely Online, as Jo is, intensifies these pressures, something lifestyle bloggers rarely acknowledge. Jo expects her daughter to respond with gratitude to the carefully curated world set up for her. Instead, Ruby wails. Jo’s existential crisis is similar to the one Sylvia Plath so hauntingly evoked in her short poem Child . Plath wanted her child’s eye to see only beautiful things, and instead, the child looks up from its crib to see …

“this troublous Wringing of hands, this dark Ceiling without a star.”

There’s a lot of power in those words and a lot of validation for new mothers who suffer from postpartum depression. “Baby Ruby” backs off from the commentary it encourages.

Now playing in theaters and available on demand.  

Sheila O'Malley

Sheila O’Malley received a BFA in Theatre from the University of Rhode Island and a Master’s in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

• Noémie Merlant as Jo
• Kit Harington as Spencer
• Meredith Hagner as Shelly
• Jayne Atkinson as Doris
• Reed Birney as Dr. Rosenbaum
• Lauren Beveridge as Ginger
• Camila Canó-Flaviá as Caroline
• Amber Janea as Farah
• Emerald Rose Sullivan as Pam
• Erin Wilhelmi as
• Arielle Sherman
• Erik Friedlander

Cinematographer

• Juan Pablo Ramírez

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